PROFESSIONAL /POST GRADUATE CERTIFICATE IN EDUCATION
GENERIC ASSESSMENT CRITERIA FOR 3/4(M)
Post
Professional
Unsatisfactory
Knowledge, Understanding and Relevance
Good understanding and confident grasp of the majority of relevant concepts, ideas and issues; good relevance to question set; able to utilise literature and other materials effectively to demonstrate a clear understanding of concepts and issues
Sound knowledge and understanding of relevant concepts; may be a tendency to generalise; some gaps in knowledge and understanding; some appropriate use made of literature and other materials, which enables a satisfactory understanding of concepts and issues
Some knowledge and understanding of concepts; several significant errors and gaps; limited relevance and tenuous link between information given and question set; failure to utilise literature and other materials to demonstrate understanding of key concepts and issues
Analysis of concepts and their application
Good ability to interpret, analyse and apply knowledge and concepts to the context (s) under consideration; is able to determine importance of context and setting; effective use of professional practice (own and observation of others); demonstrates reflection and reflexivity; is able to present proposals for revision and change in an effective manner
Sound links between relevant concepts and contexts; some understanding of context and is able to draw conclusions, although this may be rather general at times; some reference made to professional practice (own and observation of others); able to reflect and be reflexive, although may not be critical; recommendations for ways forward may be general and limited in critique
Only tenuous links between relevant concepts and context; context and setting is minimal - a failure to draw on professional practice (own and observation of others); over use of descriptive narrative; limited evidence of reflection and reflexivity; ability to draw on evidence and provide recommendations for change and ways forward is limited
Articulation, argument and coherence
An answer which is well structured and comprehensive in its coverage; main issues are effectively evidenced; arguments are coherent and logical; able to recognise key aspects of argument; evidence of some original thinking; sources are fully acknowledged
Recognition of main issues and a generally effectively structured answer; some evidence is provided for the main issues; argument sometimes may lack incisiveness and may be uncritical. Sound acknowledgement of sources
Uses argument associated with answer but is unselective in approach; themes undeveloped and not carried through to conclusion. Quality of argument is weak. Structure of assignment lacks coherences. Sources may not be acknowledged
Evaluation of literature and theory
A range of literature is drawn on and evaluated, within the context of the assignment; able to identify and comment on different perspectives and place within the context of the question. Evidence of an emerging criticality in approaches to evaluation. Some originality and creative thinking.
Limited range of literature used; some evidence of awareness of different perspectives and place within context is generally acknowledged.
Evaluation is evident but a tendency to reproduce views. Original ideas and creative thinking may be in evidence, albeit limited
Literature and authors may be mentioned; however, even where this happens, there is a poor relationship to the question; a failure to place the author in an appropriate conceptual context. There is no or only limited evidence of critical evaluation. Originality and creative thought is absent
ASSIGNMENT TWO: NAME: Marie Swain
This assignment must show that you have:
* Read about 'creativity' in education
* Read about 'creativity' in ICT
* Compiled a critical literature review
* Written a critical commentary
* Addressed the knowledge and understanding
implied by the listed standards
The assignment will not succeed if:
* There is no evidence of research/reading by the
individual
* Any of the items requested are missing
* The work does not follow the appropriate presentation
guidelines
Assignment Two - Subject Pedagogy
by
Marie Swain
Curriculum Tutor: Andy Connell
Word Count: 3498
Table of Contents
. Introduction 1
2. What is meant by creativity 2
3. Research 'creativity' in schools. 3
4. Literature review on ICT and 'creativity' 6
5. Commentary on how 'creativity' might be used to support the learning and teaching of ICT 9
6. Conclusion 12
7. Bibliography 13
Assignment Two - Subject Pedagogy
. Introduction
This report will discuss issues regarding the subject pedagogy of ICT in secondary schools, in particularly how 'creativity' influences effects and supports the subject. In order to complete the report research was carried out in the form of intensive reading and from discussions with other teachers in secondary schools.
After the research, the author concluded their findings in the report that follows, under the following headings:
* What is meant by 'creativity'
* Research 'creativity' in schools
* Literature review on ICT and 'creativity'
* Commentary on how 'creativity' might be used to support the learning and teaching of ICT.
2. What is meant by creativity
One good definition that is widely used by other authors (Craft et al., Craft, BECTA, QCA) of what is meant by creativity is taken from 'All our futures: Creativity, culture and education', the National Advisory Committee's report (DfEE, 1999). In this report it states that we are all, or can be, creative to a lesser or greater degree if we are given the opportunity. The definition of creativity in the report is broken down into four characteristics:
"First, they always involve thinking or behaving imaginately. Second, overall this imaginative activity is purposeful: that is, it is directed to achieving an objective. Third, these processes must generate something original. Fourth, the outcome must be of value in relation to the objective. We therefore define creativity as, 'imaginative activity fashioned so as to produce outcomes that are both original and of value'" (NACCCE 1999).
Loveless et al. (2006) expresses concerns that both the definition of 'creativity' and the practical experience of creative processes become naive, unproblematic and unable to reflect the complexities and challenges of developing creativity in the curriculum and pedagogy.
3. Research 'creativity' in schools.
Creativity became recognised by English education in 1967 with the publication of the Plowden Report. This report linked creativity to a particular, child-centred, discovery-based pedagogical approach. The Plowden Report advocated a theme in which learning in all subjects was relevant and interesting. It promoted a "child-centred" approach in which the curriculum originated ...
This is a preview of the whole essay
Loveless et al. (2006) expresses concerns that both the definition of 'creativity' and the practical experience of creative processes become naive, unproblematic and unable to reflect the complexities and challenges of developing creativity in the curriculum and pedagogy.
3. Research 'creativity' in schools.
Creativity became recognised by English education in 1967 with the publication of the Plowden Report. This report linked creativity to a particular, child-centred, discovery-based pedagogical approach. The Plowden Report advocated a theme in which learning in all subjects was relevant and interesting. It promoted a "child-centred" approach in which the curriculum originated from the child's previous knowledge and interests, rather than being made compulsory externally. This approach, with good teaching gave all the basic skills, and children developed an innovative and creative approach to life. Unfortunately, by the 1980's people had noticed that school leavers did not have the ability to recite number facts in the way their previous generation did, and the government ministers hailed a "back to basics" approach. It began as an attempt to put the strictness back into the curriculum, but it came at a loss to creativity. The introduction of the English National Curriculum in 1988 brought back teaching core skills and for the first time in the UK, set out exactly what was to be taught (Logotron Ltd).
In the 1990's it was recognised that the curriculum that was been delivered was not matching the needs of 21st century Britain, and that the creativity that was lost must be re-introduced, as learner creativity was an extremely important aim for education. The National Advisory Committee on Creative and Cultural Education (NACCCE) responded to the 1997 UK Government White Paper 'Excellence in Schools', by presenting a report that argued for a national strategy in creative and cultural education to ensure a broad and flexible education, that acknowledged the talents of all children. The report contained various recommendations, which requested further work and investigations into creativity and cultural education. The NACCCE Report faced up to the issues of creativity in education by highlighting what the authors saw as the difference between 'teaching for creativity', and 'creative teaching'. It could be disputed that the commissioning of the report was an attempt by the government to publicise its support for creativity at a time when it was, in fact, furthering the instigation and implementation of a non-creative approach to teaching and learning in schools. Nevertheless, the report highlighted the importance of creativity, not only for education, but as a vital vehicle for economic, social and individual development (Craft et al. 2001).
Joubert (1999) summaries the NACCCE Report under five key concepts for classroom pedagogy: using imagination, fashioning processes; pursuing processes; being original; and judging value. She interestingly advocates teachers becoming 'facilitators', exactly the opposite recommendation reached by the Alexander et al. report (1992) commissioned by the Conservative government in 1992, who advocated more direct teaching, as was the curriculum at the time. Joubert was perhaps ahead of her time in her vision of teachers becoming facilitators, as this is only now becoming the way of education, especially in key stage 4, with courses such as DiDA where teachers are facilitators'.
From the NACCCE Report the government recognised that young people need to develop the creative skills needed in the workplace of the future. There was a need to produce creative solutions to complex problems for ever growing technological and global communications. Creative teaching practices can help develop and release pupils' creativity, increasing their ability to solve problems, think independently and work flexibly. Since this report the importance of creativity has been recognised and has since been in most policies and curriculum. In 2000 came the revised English National Curriculum which offered teachers more flexibility in the delivery of the curriculum, with more opportunities for pupils to explore their creative potential. Then in 2003 came the "Excellence and enjoyment: A strategy for primary schools", which advocates the use of creativity in primary education and reminds teachers of the freedom they have in planning lessons. The Key Stage three framework also aimed to support teachers in delivering engaging, inspiring and challenging lessons via new and innovative approaches.
One of the most recent publications from Qualifications and Curriculum Authority (QCA, 2001) who launched its "Creativity: find it, promote it" website as a resource for teachers. This was the result of a three year research project into creativity across the curriculum; the website contains case studies and exemplar material (TeacherNet, 2006).
The government created in 2002 "Creative Partnerships" programme for schools and young people, managed by Arts Council England and funded by the DfES and DCMS, with the focus to work with the most deprived communities of England. It aims to develop:
* the creativity of young people,
* raising their aspirations and achievements;
* the skills of teachers and their ability to work with creative practitioners;
* schools' approaches to culture, creativity and partnership working; and
* the skills, capacity and sustainability of the creative industries.
The importance of creativity can be supported in the findings of an independent survey of head teachers conducted by the BMRB in April 2006. BRMB spoke to 510 head teachers from areas who had been involved in the Creative Partnerships programme, the findings all showed the majority felt that Creative Partnerships had:
* made a real contribution to raising standards on the school;
* improved attainment;
* improved pupils' enjoyment of school;
* increased pupils ability to learn independently;
* improved pupils behaviour;
* improved teaching skills; and
* encouraged teachers to me more willing to take a creative approach.
4. Literature review on ICT and 'creativity'
Creative thinking is one of the most vital skills children can gain and develop whilst in their early years. Creative thinking can be used within a number of learning contexts to improve the attainment of knowledge and skills. The ability to think in a creative manner is so important, as without this ability children would be unimaginative and lacking in the necessary transferable skills to engage in personal and professional life. Creativity has become viewed, since the 1990's, as centrally relevant to education globally in a way it has perhaps never been before. The importance of creativity in education is seen as essential by Craft (1999), 'Creativity is an essential life skill, which needs to be fostered by the education system(s) from the early years onward'. This statement highlights the importance of playfulness, imagination and creativity in learning for children, young people and adults and the role that schools might play in promoting these qualities in learning experiences (Loveless, 2002). Craft is a very established writer and researcher who is known for her work in creativity, however, one should consider when reading her work, is that if all her publications are recommending the use of creativity then she will be taking a biased view in promoting the use of creativity.
There are concerns that the practical experience of creative processes may become simplistic, unproblematic and unable to reflect the complexities and challenges of developing creativity in the curriculum and pedagogy. Prentice (2000) highlights the dangers of a complex and slippery belief, which may result in confusions and contradictions, which does not allow educators to focus on the purpose and possibilities of creative processes in the curriculum. This statement summaries that for many teachers there are many contradictions and confusion, some because the government have changed their approach to creativity and the way they have expected education to be taught, and also because there are so many demands for results, it becomes difficult to find time to allow creative practice. Hartley (2003) supports this statement in explaining how government and business are attending to creativity and emotional literacy in education, attaching them to 'practice which remains decidedly performance driven, standardized and monitored', and harnessing them for instrumental purposes in the knowledge and service-based economy (Loveless et el. 2006).
It is not surprising that most educators are confused by what is expected from them, as creativity is mentioned vaguely in most English National Curriculum and Frameworks. For example, in the ICT National Curriculum the only mentions of creativity are as part of sentences, "to foster their Creativity", "helping pupils to recognise their own, and others' creativity and imagination", and it is only mentioned in key stage one in that pupils, "start to use ICT to develop their ideas and record their creative work". This statement would suggest that all work at key stage 1 is creative, but then why is creativity not mentioned in any of the other key stages? The ICT National Curriculum does not give examples of what they class as creative work, or creative practices, or what they mean by anything creative, so you can see why teachers do not know what is truly expected from them. Even the National Curriculum in Action Find it, Promote it website dedicated for creativity may help to gain the basis of what is expected in the curriculum, but it is still very limited and seems to be targeted at key stage one to three, so where does key stage four fit in? It is still useful in that it gives examples of creativity in action, however, there are only twenty-four examples of pupils work for all subjects, which is limited if teachers want help or guidance to inspire creative practice. What would be useful would be to take existing examples of programmes of studies, and demonstrate how to improve with creativity.
The recent escalation of ICT provision in British schools from the government National Grid for Learning (NGfL) funding has ensured that Britain is now the international forefront of ICT in education. ICT has given British schools many opportunities to exploit and experiment with, to support creative processes. Learners and teachers therefore need to have a range of experiences in which they can engage, play and become familiar with the uniqueness that ICT can make to their creative practices, which other media and tools do not offer. The NACCCE report supports this view as it suggests, "Information technologies provide for new forms of creative practice, through, for example, computer graphics, animation, and sound production. ... Information technology can also revolutionise forms of teaching and learning through providing easier and fuller access to information, ideas and people." In this reference it suggests that ICT has revolutionised teaching and learning because it has provided new forms of creative practice. There has been numerous studies and research carried out to support the claims that ICT helps support learners' creativity (Craft 1999, Loveless et el. 2006, Wheeler et al. 2002).
Loveless (2002) mentions two examples; The Glebe Project which took place in primary schools where children worked with visual art; and secondary pupils using multimedia authoring in the art curriculum. In these examples the technology played a significant role by giving pupils the opportunity to capture, edit and transform digital data in order to make meanings. The creative processes of imagination, fashioning and 'flow' were supported by the presentation, the ease of manipulation and the possibilities of 'leaving a trail' of work in progress in order to trace the development of ideas, or revisit them in order to explore other possible routes. These features of ICT can be seen in software applications which are accessible for young learners for the creative moving images with digital video, music, and the creation of 3D virtual worlds. This reference by Loveless is part of a critical review and as a researcher he does then look at both sides of whether technology stifles creativity. In Loveless's research he finds that Sefton-Green and Buckingham noted the limited nature of 'creative production' that was taking place in young people's experience with and access to digital technologies at school and at home (Sefton-Green and Buckingham 1998).
Another study of forty-one children in a year six class, who had exclusive use of a personal computer on their desk at all times, by Wheeler et al. (2002) found, "some ICT use in schools places creativity in a straitjacket". The statement was made as schools were not using the tremendous potential associated with this medium, this the author has seen in practice by many teachers. Often in ICT the teachers have schemes of work and a set amount of work that has to be taught by a certain time, and it does not give children the freedom and time to truly allow creativity. When they are set work that they can be creative, such as presentations or websites they are given guidelines and are expected to produce creative work, but it can be restricted like a "straitjacket". Courses such as DiDA allow pupils to take control of their own project, and this is when pupils can allow creativity to flow.
5. Commentary on how 'creativity' might be used to support the learning and teaching of ICT
Firstly, in order to comment on how creativity might be used to support learning we must understand what is meant by learning. Kyriacou (1997) definition of learning states, 'pupil learning can be defined as changes in a pupils behaviours which take place as a result of being engaged in an educational experience'. This reference suggests that if there is change, whether that is: greater knowledge, different attitude towards certain issues or ideas, improved ability, better understanding, or the capacity to do something different, then learning has occurred. Therefore, in this commentary recommendations of how creativity might be used to support learning must result in a change in pupils' behaviours according to Kyriacou's definition. Equally, one would expect teaching also to show some kind of change in the teachers' behaviours, if there has been an impact from creativity.
There has been research that proposes how ICT supports creativity, but very little on how creativity supports the subject; therefore, most of what will follow in his commentary is more how creativity and ICT compliment each other in the classroom to improve learning and teaching.
According to East of England Broadband Network (E2BN 2005), "Creativity is paramount for successful learning". This reference proposes that creativity is essential for successful learning; hence, teachers should use it. Although, pupils are already allowing creativity to inspire their use of ICT without them even knowing it, some of these characteristics of creativity are:
• Pupils are inspired to be creative with ICT.
• Pupils release their creative ability through a range of ICT tools.
• Pupils use ICT to explore styles of communication and expression.
• Pupils are innovative / creative in their use of ICT.
• Pupils explore the possibilities of multimedia tools, enabling them to create in the styles readily available to them in games, CDs and television.
These characteristics should improve pupils learning, as they would result in a change in pupils behaviour, and by allowing pupils to be creative as characterised above, pupils would gain a better experience of teaching than by just been dictated to as to what they should and not do, allowing creative practice.
Pupils learning environment also has an influence of pupils learning and creativity. An established environment with ICT in which learners and teachers can develop creativity should be considered as, Edwards (2000) explains how societies and cultures have the ability to both enhance and detract from creativity and asserts that technology plays a crucial role in providing access to cultural means. Therefore, according to Edwards the ICT classroom must have the right environment; else pupils could lessen their creativity, whereas with the right learning environment it ultimately induces better learning.
The ICT classroom should include the following creative elements:
* Allow opportunities for exploration and play with materials, information and ideas
* Allow pupils to take risks and make mistakes in a non-threatening atmosphere
* Give pupils time for reflection, resourcefulness and resilience
* Allow flexibility in time and space for the different stages of creative activity
* Be sensitivity to the values of education which underpin individual and local interest, commitment, potential and quality of life
* Use teaching strategies which acknowledge 'teaching for creativity' as well as 'teaching creatively.' (NACCCE 1999)
The above promotes learners' creativity and they can all be used in ICT to improve teaching and the learning experience. Unfortunately not ever classroom can have the right environment or teaching to develop creativity in ICT, as there are many barriers. One main barrier is the overload of the English National Curriculum, and the time and attention given to creativity is not as much as there should be, because of time allocated in lessons and schools attention on performance of league tables of children's achievement in Standard Assessment Tests. Ultimately resulting in teachers been pressurised in getting high results, as seen in the authors experience in their placement school. As with the National Curriculum for schools, the ITT National Curriculum is likely to prove overfull and congested. Providers of teacher education, like teachers in schools, are increasingly required to teach to the test and have little room for dialogue, debate and creative work with students. Therefore there is another barrier, in that if the creative potential of student teachers is ignored, it is unlikely that they will be able to promote the creative and cultural development of pupils. Similarly, teachers cannot develop the creative abilities of their pupils if their own creative abilities are suppressed; hence teachers need to be able to teach creatively (NACCCE 1999).
Other barriers to creativity are lack of equipment, range of technologies, and teachers not having a framework to promote understanding and confidence in their own creative teaching practice and professional development. Without this framework there might be confusion and the inability to promote learners' and the teachers' creativity.
Creativity in schools can be used to support learning and teaching of ICT in many ways, the author from their findings will use creativity in their future teaching in some examples below:
* When allowing pupils to create websites they will allow pupils freedom to present their own 'shop window' of work, communicate with other children around the world and publish their own creative ideas instantly.
* Allow creative collaboration by pupils by the use of virtual reality environments and knowledge forums.
* Have a learning environment which provides opportunities and promote an ethos which support creativity. Contexts which are conducive to creativity reflect qualities of exploration, play, taking risks, reflection, flexibility, focus, commitment and sensitivity to valuing the endeavours of individuals and communities (Loveless 2002).
* Allowing pupils to use high specification digital technology available for exploration and creation of ideas from film production tools to CAD/CAM and virtual reality simulations.
* Allow pupils the opportunities to develop their own ideas and express themselves in many forms.
* Allow pupils to be creative with paint and graphic programs.
* Use Interactive Whiteboards for pupil interaction.
* Plan for a range of teaching and learning styles so that as many pupils as possible have the opportunity to show their creativity.
All of these ways to improve practice are useless without knowledge and skills, because pupils are only able to engage creatively and purposefully with the challenges they encounter if they have a solid base of knowledge and skills.
6. Conclusion
In conclusion, creativity has a place in education now more than ever before as it is now seen as essential. There are many ways to include creativity in ICT to improve teaching and learning but this can be difficult with the barriers teachers face. The author has gained tremendously from this report in particular how to teach in the future to allow pupils creativity.
7.
Bibliography
Alexander, R., Rose, J. and Woodhead, C. (1992). Curriculum Organisation and Classroom Practice in Primary Schools. Cited In: Craft, A., Jeffrey, B., and Leibling, M. (2001). Creativity in Education. London: Continuum.
Annarella, L.A. (1999) Encouraging creativity and imagination in the classroom. Cited In: Craft, A. (2001). An analysis of research and literature on CREATIVITY IN EDUCATION [Online]. Available from: URL: http://www.ncaction.org.uk/creativity/creativity_report.pdf [Accessed 13 February 2007].
Becta (2002). How to encourage pupils' creativity using ICT [Online]. Available from: URL: http://schools.becta.org.uk/index.php?section=tl&catcode=as_cu_sec_sub_14&rid=594&pagenum=2& NextStart=1&pagenum=2&NextStart=1&print=1&PHPSESSID=e811e1eb8adc9d174e7df53f639c18b6 [Accessed 12 February 2007].
Craft, A. (2005). Creativity in Schools: Tensions and Dilemmas. Oxon: Routledge.
Craft, A., Jeffrey, B., and Leibling, M. (2001). Creativity in Education. London: Continuum.
E2BN (2005) Creative Development [Online]. Available from: URL: http://foundation.e2bn.net/index.php?option=com_content&task=view&id=24&Itemid=27 [Accessed 15 February 2007].
Hartley, D. (2003). The instrumentalisation of the expressive in education. Cited In: Loveless, A., Burton, J., and Turvey, K. (2006). Developing conceptual frameworks for creativity, ICT and teacher education. Thinking Skills and Creativity 1 (2006) 3-13. [Online]. Available from: URL: www.sciencedirect.com [Accessed 12 February 2007].
Joubert, M. M. (1999). Creativity: from practice to policy. Cited In: Craft, A., Jeffrey, B., and Leibling, M. (2001). Creativity in Education. London: Continuum.
Kyriacou, C (1197). Essential Teaching Skills. Cited In: Ellis, V. (2005). Learning and Teaching in Secondary Schools. Exeter: Learning Matters Ltd.
Logotron Ltd. Creativity [Online]. Available from: URL: http://www.logo.com/newsletter/11/creativity.htm [Accessed 12 February 2007].
Loveless, A. M. (2002). REPORT 4 literature review in creativity, new technologies and learning [Online]. Available from: URL: http://www.futurelab.org.uk/research/reviews/cr06.htm [Accessed 13 February 2007].
Loveless, A., Burton, J., and Turvey, K. (2006). Developing conceptual frameworks for creativity, ICT and teacher education. Thinking Skills and Creativity 1 (2006) 3-13. [Online]. Available from: URL: www.sciencedirect.com [Accessed 12 February 2007].
National Advisory Committee on Creative and Cultural Education (1999). All Our Futures: Creativity, Culture & Education. Suffolk: DfEE Publications.
Prentice, R. (2000). Creativity: a reaffirmation of its place in early childhood education. Cited In: Loveless, A. M. (2002). REPORT 4 literature review in creativity, new technologies and learning [Online]. Available from: URL: http://www.futurelab.org.uk/research/reviews/cr06.htm [Accessed 13 February 2007].
QCA (2001). What is Creativity? [Online]. Available from: URL: http://www.ncaction.org.uk/creativity/whatis.htm [Accessed 12 February 2007].
Sefton-Green, J and Buckingham, D (1998). Digital Visions: Children's 'Creative' Uses of Multimedia Technologies. Cited In: Loveless, A. M. (2002). REPORT 4 literature review in creativity, new technologies and learning [Online]. Available from: URL: http://www.futurelab.org.uk/research/reviews/cr06.htm [Accessed 13 February 2007].
Teachernet (2006) Creativity in schools [Online]. Available from: URL: http://www.teachernet.gov.uk/management/atoz/c/creativityinschools/index.cfm?code=main [Accessed 12 February 2007].
Wheeler, S., Waite, S.J. and Bromfield, C (2002) Promoting creative thinking through the use of ICT Journal of Computer Assisted Learning (2002) 18, 367-378
Marie Swain -9500152402J Curriculum Tutor: Andy Connell
Assignment Two - Subject Pedagogy - 12 -
